Second Occupancy

Second Occupancy

the annexe in the field of Lincoln’s Inn A case of architecture dealing with the unconscious influence of the archive in collaboration with Drawing Matter and the Architectural Association Archives

Bella Fane

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A day at the annexe

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A note

A note before proceeding

This document is structured to mirror the architectural approach of Second Occupancy. Rather than following a chronological sequence, it is organised around a set of three scales and a series of investigations that reflect the spatial and curatorial strategies of the proposal. These three scales will respond to the field, the annexe, and the furniture. These scales respond how the project encourages users to navigate the annexe through their own routes, engaging with archival material in a non-linear and exploratory way, the document invites a similarly open-ended reading, aligning with the project’s emphasis on discovery and interpretation.

Site plan situating Lincoln’s Inn Fields in relation to the Architectural Association and Drawing Matter, drawn at 1/1000 scale

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Second Occupancy

Abstract Second Occupancy is an architectural investigation into how we engage with archival material—its use, interpretation, and hidden potential. Motivated by a desire to re-frame the archive not as a static repository, but as an active site of learning, speculation, and reinvention. It asks how archival drawings, objects, and lectures can be dislocated from their original contexts to speak anew, inviting fresh readings and understandings. Set in Lincoln’s Inn Fields, London, the proposal for an annexe emerges from a series of studies into how architecture might physically and conceptually support the cyclical nature of academic inquiry. The design responds to the idea that the act of repeatedly returning to archival material, sometimes without a clear end in sight, can itself become a pedagogical method. This process of getting lost in the archive becomes not a hindrance, but a space of productive wandering, where learning is shaped by drift, encounter, and reinvestigation.

The annex proposes to spatialise this condition, to allow for a form of occupancy where meaning is neither fixed nor predetermined, and where the archive itself becomes an active agent in architectural thought and education. Here, the archive becomes more than a collection; it is an active participant in shaping architectural thought. The spaces are designed to encourage lingering, re-reading, and reinterpretation, allowing visitors to engage in a continuous process of discovery that resists finality. By moving users between moments of reflection and projection, the tectonic architecture enhances the archive’s potential to expose the creative and political climates in which works were originally produced.

Inviting users to navigate these historical conditions not as static backdrops, but as evolving contexts that inform present-day discourse. The annex becomes an architecture through which time is made tangible, drawing connections across generations of architectural thought and inviting speculation about what might come next. In doing so, it makes the cyclical, uncertain nature of research and reinvention not only visible, but inhabitable.

Thanks go to my tutors Maria Mitsoula and Callum Symmons for their advice, support and enthusiasm towards the development of this architectural project over the semester.

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Model of the annexe, card and balsa Scale 1/100

Abstract

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Second Occupancy Site and placement of the annexe Location

The annexe is located in Lincoln’s Inn Fields WC2A, the largest public square in London, situated within the borough of Camden, specifically the Holborn district. Framed by historic façades and mature trees, the square functions as a civic landscape at the heart of the city. Its open lawns, dispersed seating, bandstand, café, and tennis courts support a layered public realm, accommodating informal occupation, circulation, and seasonal use throughout the year.

Connectivity to and through

Lincoln’s Inn Fields is accessible from all four sides, with primary approaches from Remnant Street to the north, Serle Street to the south, and additional entrances from the east and west edges of the square. Its permeability integrates the space as part of a wider pedestrian network, connecting various institutions, legal chambers, and university buildings. The relationship between the formal edges and the open interior invites a continuous negotiation between public access and the framed, often institutional, boundaries that surround it.

Topography

Lincoln’s Inn Fields is largely flat in topography, characteristic of the surrounding Holborn area. The open lawn is gently graded for drainage, but the ground plane remains uninterrupted.

Ground Conditions

Environmental

Development

The ground conditions of Lincoln’s Inn Fields consist primarily of made ground, with compacted gravels and sands overlying the natural London Clay. The clay is dense and impermeable, presenting potential challenges for excavation. Groundwater levels are moderate and should be carefully considered in relation to the depth of any proposed works.

The orientation of Lincoln’s Inn Fields allows for good sunlight throughout the day with minimal overshadowing from surrounding buildings due its large size of open space. Due to the height of the south façade of the site, the north east corner of the field is most adequate for capturing the natural light. The field is surrounded by tall buildings on all sides, protecting it from harsh winds.

The context of Lincoln’s Inn Fields combines historic and contemporary buildings, including Sir John Soane’s Museum, Lincoln’s Inn, and the Marshall Building, LSE. With surrounding heights largely above 25 metres, the annexe roof scape must be treated as an elevation.

programme of the annexe The three buildings function together to form the cyclical environment of the annexe. Each building is equipped with custom-designed furniture, specifically tailored to its function ( discussion, production, presentation). These pieces are integrated into the architecture, ensuring flexibility and adaptability for various activities. Covered by a single roof, the buildings provide an open, monitored space where the arrangement of furniture facilitates seamless interaction between Archive (Discussion)

The central archive building houses a main archive, research rooms, computer and library spaces, display tables, a large goods lift for transporting oversized items, and a detailed archive facility for the sorting, storage, and cataloguing of works.

Studio (Production)

The studio is an open-plan space with a mezzanine level. Facilities include a kitchen, adjustable drafting tables, drawing boards, and modular shelving, all adaptable to the needs of different workshops. A small workshop beneath the mezzanine provides space for model-making activities.

Exhibition (Presentation)

The exhibition room accommodates more public-facing activities, with exhibitions curated in response to the work produced in the archive and studio buildings. A small office for the exhibition team ensures the building can function independently when the archive and studio are closed. The exhibition hall features a large foyer and bathroom facilities, capable of hosting large scale events. With direct access to the car accessible road along the side of Lincoln’s Inn Fields, the building is designed for easy public entry and movement.

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A day at the annexe The archive at the annexe in the field, photograph of model Expo in Sala Vinçon, Containers, 2013, Flores Prats Architects

A set of principles for the annexe to follow

guiding concepts, rules or frameworks that work together to inform (shape) a particular approach or system

Passage

Design spaces that reflect the fluid relationship between past and present, and future. The architecture should not merely preserve but invite reinterpretation of materials, allowing the archive to be experienced as an evolving narrative, not a static one.

One thing after another

The architecture should facilitate the cyclical nature of the chosen academic inquiry, where users can return to archival material repeatedly with or without a predetermined goal. Spaces should be designed to accommodate reflection, pause and wandering, enabling users to revisit ideas in different methods over time.

Active Archive

Treat the archive not as a passive collection, but as an active agent in shaping discourse. The architecture should allow for the archival material to influence users’ understanding and spark new interpretations and discoveries. Design elements should highlight the archives role in inspiring creative and political insights.

Pedagogical Space

Create spaces that support a variety of learning modes, from solitary study to collaborative exploration. The architecture should encourage both individual reflection and collective engagement, allowing users to drift through spaces that create deep contemplation and interaction with archival material.

Uncertainty (physical space)

Design spaces that resist finality and instead celebrate the uncertainty inherent in academic research. The building should accommodate moments of disorientation and allow for productive wandering, making the uncertainty of research tangible and part of the experience.

Containing/Sorting

The nature of the architecture is to be ever changing, creating animated spaces dictate by the chosen archival material being held in the space at the chosen time. The organisation and system of containing works on site at the annexe will encourage the growth and development of uses within the spaces and envision growth of the archival history and projected future use.

Transparency

Use design to make the passage of time visible in the space, showing how different layers of history inform current discourse. The architecture should create a sense of temporal depth, offering a connection to the past while projecting future possibilities.

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Second Occupancy

Then/Now/Next “To translate is to convey. It is to move something without altering it. This is the original meaning and this is what happens in translatory motion.

Such too, by analogy with translatory motion, the translation of languages. Yet the substratum across which the sense of words is translated from language to language does not appear to have the requisite evenness and continuity; things can get bent, broken, or lost on the way. The assumption that there is a uniform space through which meaning may glide without modulation is more than just a naive delusion, however. Only by assuming its pure and unconditional existence in the first place can any precise knowledge of the pattern of deviations from this imaginary condition be gained.” Robin Evans, Translations from Drawing to Building

Sketch of the (Alternative) Alternative Histories project

Ponis, Alberto, Casa Scalesciani, 1977, North Elevation, pencil and wash on tracing

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Index

Index/Reference

A day at the annexe

18-23, 74-77, 94-95, 126-127, 138-139, 168-169

The importance of the archive

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(Alternative) alternative histories

28-29, 34-35, 40-41, 78-81 (in collaboration with Holly Taylor)

On site

48 - 53, 54-60, 69

Working with existing

62 - 67

Models

44, 47, 73, 81, 82, 84-85, 88-90, 98, 111, 116, 118, 120, 125, 135-136, 140, 144, 146, 148-149, 151, 153-154, 156-156, 166-167

Drawings

26-27, 32-33, 36-37, 42-45, 71, 83, 86, 93, 99, 104-107, 108, 110, 114-115, 124, 127-134, 137, 142, 145, 147, 155, 158-165,

Collage Translations (working drawings) References Texts

26-27, 121, 122 80, 84-85, 96, 100-103, 106-107, 113, 119, 149, 152, 15 - 17, 30-31, 32-33, 36-39, 42-43, 46, 53, 82, 87, 91, 97, 102, 107, 109, 120, 141, 150 16-17, 46, 53, 61, 62-65, 72, 82, 96, 100, 112, 116-117, 125, 132, 136, 143, 145

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Second Occupancy The annexe in the field proposes an engagement with the nature of translation, as discussed by Evans. Translation, particularly in architecture, is rarely clean or linear, rather a process marked by distortion, loss, and reinvention, with evidence of this work embedded in the physical work itself. When historical material is placed into the hands of students or others willing to engage, the resulting works inevitably bear traces of their origins, but emerge articulated through a different language. Between drawing and redrawing, things are bent, broken, or forgotten, whether across layers of tracing paper, shifts within the working team, or through the use of new mediums that extend the project forward. The products of this translation are valuable, not for their monetary worth, but for their capacity to reveal how interpretation shapes making.

They expose the unconscious selections, omissions, and intuitions that individuals bring to their work. Understanding these patterns, learning how one responds to an existing piece, becomes a critical tool for architectural study and practice. It is through this lens that the annexe will frame its approach to archival material: not as static objects of reverence, but as living sources for reflection, action, and new creation.

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Working with existing The proposal for Lincoln’s Inn Fields will serve as an annexe to the existing archives of Drawing Matter and the Architectural Association (AA). Conceived as an extension of programme, the annexe acts as an intermediary space between public and private realms. While standing independently from both institutions, it remains within close proximity, easily reached on foot.

Working in close collaboration with Drawing Matter and the AA, the annexe builds upon Drawing Matter’s existing ethos of learning through archival drawings and hosting workshops.

The Drawing Matter collection will offer opportunities to teach the history and significance of archival drawing practices, while the Architectural Association’s involvement will deepen the annexe’s academic focus, bringing students and researchers into closer, more immediate contact with archival material. For both institutions, the annexe provides expanded archival storage and the flexibility for the material itself to dictate the nature of activities (whether study, making, or exhibition).

By offering an open, spacious environment, the annexe will free the mind to wander without constraint, encouraging interaction with material in ways not limited by conventional archival settings. The specialist knowledge of the Drawing Matter team, particularly in the sourcing and careful preservation of works, will also serve to inform and guide the AA’s ongoing efforts to organise and archive its own extensive and historically rich body of work, while encouraging students to engage with the legacy and graphic culture of the school since its founding.

Erik Gunnar Asplund (1885–1940), interior perspective, Main Restaurant, Stockholm Exhibition of 1930, Stockholm, Sweden, 1929.

Pencil and gouache, adhered to mount, 215 × 320 mm. DMC 1387.

Pierre-François-Léonard Fontaine (1762–1853), Drawing model for a Music Room, c.1803. Pen, ink and watercolour on paper, 120 × 185 × 144 mm. DMC 2081.

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material to the annexe

William Butterfield, Section, Heath’s Court, Ottery St Mary’s, Devon, , 381 × 557 mm..

Peter Wilson, perspective study of Second Clandeboye Bridge, 1984. .

John Hejduk , House for the Inhabitant Who Refused to Participate, 1979 515 × 685 mm..

3pm Drawing Matter team will deliver

Peter Wilson, gate house studies, Clandeboye, 1984. .

Second Occupancy

Move boxes, crates, files, take directly to the archive building.

File and sort material

9am Year 4 students from the Architectural Association arrive at the annexe 10am Orientation

10am Drawing workshop

12pm Selection of pairs and pieces of

12pm Lecture in the exhbtion building

Introduction to material

work that the students will study over the next fourdays

2pm Drawing workshop

9am All work made from the workshop now to be sorted, documented, and archived dependant on its medium

Follow guidelines set out by the team at the annexe and discussions to decide what to be kept and stored

3pm Selection of pieces to return to the drawing matter collection at 8 Smart Place

Remaining work to be kept on display in the archive building

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9am Begin to curate and display the works on the tables, shelves, diaplay walls in the exhbition room

381 × 560 mm

Walter Pichler, sketches, hardback bound sketchbook, Pen, pencil and ink on wove paper.

Sir Joseph Paxton, patent 1857. Print, 265 × 185 mm (folded).

Alberto Ponis elevation, Casa Scalesciani,, Pencil and wash on tracing, 330 × 508 mm.

Francisco Guedes de Carvalho and Álvaro Siza, 503 × 752 mm..

Cedric Price, (Fun Palace Project), 1959-61. Imprint, folded 208 x 298 mm.

William Butterfield Ground floor plan,

A day at the annexe

Annnexe closed for weekend

10am Presentations in the studio

2pm Lunch, final discussions and goodbyes Annnexe closed for weekend

6pm Exhbit of Drawing matter material and workhshop drawings/models/photographs on display for the public over the weekend

6pm Open studio and exhbition

Annnexe closed for weekend

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Second Occupancy March 3rd 2026 Archival material arrives at the Annexe from the Drawing Matter Collection

Series of events

Before material is moved from Drawing Matter, full inventory is undertaken. Each item (drawings, models, sketchbooks, photographs) is assessed for its condition.

Material is sorted according to their type, size, and fragility to determine the appropriate packing method.

Material is carefully placed into designated archival containers (furniture specifically designed for the annexe in the field).

Flat files for large format drawing and maps archival boxes for smaller documents, photographs, and sketches Custom crates for archival models and three dimensional objects.

Each container is marked with the label that matches the inventory system Collection name Item description Catalogue number Handling instructions Transportation to Lincoln’s Inn Fields from drawing matter (car 5 minutes) walk 8 minutes On arrival flat files are placed into plan chests, rolled storage systems.

Documents are shelved according to archival hierarchy (collection - series - item) Models are places in shelving units or display cases designed for both visibility and protection

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A day at the annexe

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Second Occupancy

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A day at the annexe

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Extracts the provided brief; written by Maria Mistoula Secondfrom Occupancy

Extracts from the provided brief; written by Maria Mistoula You will explore creative ways of working with archival drawings, and develop tectonic sensibilities through the generative practices of translating architectural drawings into new models and drawings What are the (hi)stories of these past projects, and how have these (hi)stories been communicated?

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explore the ‘non-uniform’ space created by the act of translation

the site will be the broader area aorund Lincoln’s Inn Fields, a dense and intricate urban fabric containing a collection of historic and contemporary buildings collectively, the buildings around the four sides of Lincoln’s Inn Fields form different edge conditions with various qualities of enclosure

the initial brief will be refined into a complex buildin as an Annex to an existing Archive in London that c architectural curiosities (drawings, sketchbooks, mo

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8 Smarts Place

The importance of the archive

What are the architectural matters (contextual, spatial, formal, material, structural, technical, and technological) that the architects were working out through their drawn representations

The archival drawings we will study belong to the Drawing Matter Collection

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specific drawings we will be working with were the subject of the project and exhibition Alternative Histories, exhibitied in London in 2019 inviting a hundred contemporary architectural practices to respond to an archival drawing by making a physical, transportable model that would imagine another, different future for the project depicted in the original drawing by proposing this virtual form of collaboration between two architects, one from the past and one from the present, the contemporary architects are asked to “inhabit an entirely different strand of thought”

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ng project, which will act contains collections of odels, photographs, etc.)

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the annexes will seek to reframe the relationships that Archives establish with the city, and with other cultural and educational programmes

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Scale for the field

Scale for the field The proposal for the annexe begins with a spatial response to Lincoln’s Inn Fields, embedding itself within the formal and institutional context of the site. It positions the annexe as a living archive, both a repository and an active space of study, drawing from its closeness to educational (Architectural Association) and formal institutions (Drawing Matter Collection) that resonate with the ethos of Second Occupancy.

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Drawing/Collage

The annexe in the field, photo montage

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Scale for the field

Ponis and Flores & Prats explore architecture’s relationship to the Sardinian terrain through a vernacular lens

Model presented for Alternative Histories exhibition, Flores & Prats architects. Paper and card.

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((Alternative) Alternative Histories

The selected drawing is an elevation sketch by Alberto Ponis of Casa Scalesciani, a coastal house in Sardinia. The response model, originally produced for the Alternative Histories exhibition, was made by Flores & Prats Architects in Barcelona. These two archival pieces form the basis of the study over the coming weeks

Alberto Ponis (1933), elevation, Casa Scalesciani, Sardinia, 1977. Pencil and wash on tracing, 330 × 508 mm. DMC 2918.24

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Scale for the field

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Reference

Photographs of Casa Scalesciani, Sardinia, Italy

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Scale for the field

Drawing the model by Flores & Prats Architects, learning about their interpretation of the vernacular architecture Photograph through the lower window at Casa Scalesciani

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Drawing/Reference

Sketchbook scan of working through understanding the architecture of Casa Scalesciani by Alberto Ponis

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Scale for the field

Alberto Ponis studio and home Work in the studio at Edinburgh

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Drawing analysis of the rockfall elevation along the ascent to Casa Scalesciani. Layered trace, photocollage, and coloured pencil.

(Alternative) alternative histories

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Scale for the field

Unfolded elevation study of Casa Scalesciani, done as a process of reflection towards the (Alternative) Alternative Histories project

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Drawing/Reference

Engaging with the physical works of Alberto Ponis at Drawing Matter

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Scale for the field

In line with the process proposed by Marius Grootveld for the original exhibition, modelling and drawing Casa Scalesciani served as a way to understand the vernacular design strategies employed by Alberto Ponis. Studying Ponis’s existing sketches informed a reconstructed plan of the house, including its driveway and staircase, elements that carve into the terrain and establish pathways between the architecture and the surrounding landscape.

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Reference/Film

Stills of a short stop motion of how to move through Casa Scalesciani Film length 00:16 Ponis, Alberto , Working plan, Casa Heintzschel, Punta Sardegna, 1986 El Croquis, N. 227 Alberto Ponis, Interior of Casa Scalesciani

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Scale for the field

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Layering of existing drawings and painting by Alberto Ponis to draw an accurate plan of Casa Scalesciani

(Alternative) alternative histories

Photograph, the authors desk in studio

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Scale for the field

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Drawing/Reference

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Casa Scalesciani , photograph taken from the sea Drawing, Full plan of Casa Scalesciani with external staircase to the sea and top driveway, alongside unfolded elevation of sea facing facade, drawn at 1/100 scale

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Scale for the field

Trace outline of the new roof for the terrain of Casa Scalesciani Photograph of the card model representing Casa Scalesciani, developed from the unfolded elevation drawing

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Drawing/Model

3D visualisation of Casa Scalesciani with its new roof

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Scale for the field

The stones are also premonitions, and the trails chart a course through nature that is both sign and path, direction and culture. The human journey and the mystery of the eternal, chance and intervention. Thus, the pre-existing stones are added and mingle with those put in later, and vice versa, until they lose themselves in each other and become, all together, symbol and necessity. They are a message, and a silent declaration, of time as the sovereign builder.

An architecture that includes us, foresees us, in the infinitesimal fragment of time we share with it: stones, nature, space overwhelm and include us. We are always grains of a larger edifice. And every single stone takes it upon itself to remind us of this. Memory of the cosmos. Stefano Salis, January 2022

Alberto Ponis, Panorama of Punta Sardegna photographed from the ferry to La Maddalena, 1963 Card model with new roof overlay, exploring the merging of terrain and architecture into a single tectonic form

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Reference/Model

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Scale for the field

Measuring the site Following close study of Alberto Ponis’s archival material and initial translations for the Alternative Histories project, intentions were set for how to approach and measure the site at Lincoln’s Inn Fields. On 23 January, a visit to London was made by train from Edinburgh to study the Drawing Matter Collection and the site itself.

In preparation, work from the 2019 Alternative Histories exhibition was analysed, and initial responses were developed to inform the method of site analysis.

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On site

Studying the work of Alberto Ponis and Flores & Prats in the studio in Edinburgh Presenting the work made in studio to the Drawing matter team, with the original drawings by Alberto Ponis Travelling from Edinburgh to London to visit the site of Lincoln’s Inn Fields

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Scale for the field

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On site

Lincoln’s Inn Fields in the wider context of Holborn and the River Thames Ponis, Alberto , Site plan, Casa Heintzschel, Punta Sardegna, 1986, Pencil, pen, ink and felt pen over print on pink paper , 900 x 780 mm, DM 2837.1

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Scale for the field

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On site/Reference

The nature of the studio was brought to the site. As with the study of Casa Scalesciani, a similar approach was applied, the site was filmed while moving through its pathways, allowing movement to inform an initial understanding of how the park was occupied and used. This filmed material was then brought back to the studio in Edinburgh, becoming a new drawing tool through which the site could be studied, reinterpreted, and aligned with ongoing investigations into archival work.

Lincoln’s Inn, photographs Enric Miralles, Santa Caterina, Barcelona, Collage Stills of a film showing movement through the site of Lincoln’s Inn Fields Film length 10:30

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Scale for the field

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On site

A series of photo montages documenting the pathways and maps of Lincoln’s Inn Fields

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Scale for the field

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On site

A series of photo montages documenting the pathways and maps of Lincoln’s Inn Fields

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Scale for the field

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On site

A series of photo montages documenting the pathways and maps of Lincoln’s Inn Fields

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Scale for the field

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Hidden pathways, a plan exploring the nature of unexpected pathways in the field. Drawn at 1/1000 scale

On site

Hidden pathways

The site is a semi-rectangular field with seven points of entry along its perimeter. It acts primarily as a space of movement, with moments of pause when weather permits. This flow is reinforced by the formal arrangement of benches placed along the concrete paths that trace the edge of the park. The nature of the drawing came about by revisiting the film made on site along side the collages taken from various points in the park. Together the development of new pathways and routes in the field have been discovered.

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Scale for the field Drawing Matter Collection Drawing Matter examines the role of drawing in architectural thought and practice, operating through publications, exhibitions, and workshops that engage both students and practitioners. As a collection, it maintains a wide network of external collaborators (writers, educators, and researchers) who use the archive as a critical tool for study and interpretation

Photograph of a drawing by Peter Wilson in Drawing Matter Peter Wilson, Lady Dufferin’s Walk and Run ,Group of drawings, Clandeboye 1984. Pencil, coloured crayon on trace, 227 x 330 mm. DMC 2902.7.5 Drawing Matter Archive, photographs taken during our visitation on 23 January Sketch of (Alternative) Alternative Histories model

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Working with existing

Initially based in Somerset, Drawing Matter has recently relocated to central London, now occupying a space at 8 Smart Place, near Lincoln’s Inn Fields. Materials are currently stored between both sites.

As the archive expands, so does the need for space—not only to house works, but to make room for the activities they generate. The proposed annexe offers space to accommodate this growth. It becomes a place to store, display, and catalogue work produced through workshops, ensuring these responses are not lost, but folded back into the archive for future study and reuse.

Captions for the images on the spreads

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Scale for the field Architectural Association Archives The Architectural Association (AA) Archives includes over 15,000 historic works of students drawings, models, posters, and increasingly, digital work produced by current students. Its primary interface is digital, with only 13% of the holdings fully catalogued to date. While the online nature of the archive improves accessibility, it limits the physical engagement with the material, a key aspect of architectural investigation.

Comprises drawings by Nicholas Boyarsky which are copies of John Hejduk's designs, and sketches by John Hejduk for the Victims exhibition, held at the Architectural Association from 24 September to 25 October 1986

Digital interface of the AA Archives website, displaying a selected catalogue of student work produced in response to John Hejduk for a 1986 exhibition. An example of how archival material is currently accessed and presented online.

Nicholas Boyarsky after John Hejduk, 1986 Victims exhibition. Poet

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Working with existing

The archive’s ambition is to document the educational trajectory of the AA and preserve its material culture and graphic output. However, the lack of dedicated space for physical handling, display, and reflections remains a gap.

The annexe proposes the potential to respond to this need, providing a monitored environment where archival material can be experienced spatially, materially, and where new relationships between past and present student work can be formed.

John Hejduk, 1986 Victims exhibition.

Sketch Nicholas Boyarsky after John Hejduk, 1986 Victims exhibition, pencil drawing

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Scale for the field

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Working with existing

Bringing together the Drawing Matter collection and the AA Archives creates a space for focused research and study, but also invites physical engagement with material. It reinforces the idea that work made in response to the archive holds its own value, both as interpretation and as contribution.

Photo montage of pieces of work moving from the AA Archives and Drawing Matter Collection to rest in Lincoln’s Inn Fields

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Scale for the field

Site situation plan , the annexe, drawn at 1/500 scale

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Site situation placing the Annex within Lincolns INN Fields 69

Scale for the annexe

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Annexe in the field, scale 1/200

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Scale for the annexe

Scale for the annexe

At a smaller scale, the proposal continues its exploration of archival material through the inhabitation of a building envelope. Three buildings work in conjunction to form a unified annexe for Drawing Matter and the Architectural Association. The tectonic response of Second Occupancy enriches the spatial and material conditions, creating a layered environment for discussion, production, and presentation.

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Model of the annexe in the field, scale 1/100, balsa, grey card and steel rods

Model

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Second Occupancy March 10th 2026

Series of events

Students from the Architectural Association arrive at the annexe

Students from the Architectural Association arrive at the annexe for an intensive five day workshop. An initial orientation is held, introducing students to the archive’s handling protocols, the structure of the collections, and the significance of the selected materials they will be studying.

Each student or group of students is assigned a specific drawing, model, or document from the archive. Materials are chosen based on themes related to architectural translation, drawing interpretation, and spatial speculation. Students may ask to work with specific works that relate to their current academic work or interests. This will be accommodated throughout the week.

Recognising the importance of direct engagement, selected archival pieces

are permitted to move between the archive building and the adjacent studio space.

Movement is tightly controlled: pieces are transported in designed archival carriers or on custom carts.

In the studio, students undertake drawing studies and discussions of their assigned pieces, producing drawings, models, and texts in response.

Work is developed in dialogue with the original material, through direct observation, measured drawings, reinterpretation, and projection into new contexts.

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The proximity between the archive and the studio allows a continuous movement between reading, observing, making, and re-reading

A day at the annexe

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Scale for the annexe

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A day at the annexe

Captions for the images on the spreads

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Scale for the annexe

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Alberto Ponis

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dRAWING BY ALBERTO PONIS. THE ELEVAITON OF CASA SCALESCIANI

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Casa scalesciani sardinia. italy

Model ma room

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Flores and prats studio

First proposal card and coloured pecncil model exploring the terrain of sardinia

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model presented for alternative histories exhibition 2019 card and balsa model with coloured pencil

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(Alternative) alternative histories

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Bella Fane and Holly Taylor

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grey card model casa scalesciani with new roof

coNSTRUCTION OF THE MODEL balsa wiwth red metal rods

Scale 1/100 of exisitng house

Pa

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Scale 1/100

841 x 1189 mm

FInal presentation model balsa wood. grey card. red steel frames

400 x 841 mm 1300mm

Unfolded elevaiton drawing

tive Alternative Histories

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Scale for the annexe

Translation of new potential structure for the (Alternative) alternative histories model Enric Miralles, Carme Pinos, Archery Pavilion

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Translations/Reference/(Alternative) Alternative Histories

Interior of grey card model made for (Alternative) alternative histories

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Scale for the annexe The drawings by Alberto Ponis and the model by Flores & Prats, produced for Alternative Histories, establish a direct correspondence between architecture and terrain, grounded in the vernacular conditions of the Sardinian landscape. Spatial organisation and material expression emerge as an extension of site specific topography.

For the reinterpretation, terrain and architecture are treated as a single, continuous system, where ground and structure operate reciprocally. Through redrawing and remodelling, the original works have been re translated into a new architectural artefact, a roof scape detached from its terrain, requiring its own independent tectonic resolution.

This new structure materialises the landscape into a built form, extending the investigations initiated by Ponis and Flores & Prats. By adopting the logic of vernacular architecture, where form is inseparable from environmental and material context, the project proposes an embedded, site responsive architecture articulated through construction.

Photograph of panel tests for the new roof structure supported by the shifting pillar system Section drawing, Archery Pavilion, Enric Miralles, 1991 Construction of the shifting pillar system for the Alternative Histories proposal model

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Drawing/Reference

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Scale for the annexe

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Model/Translations

Model making the spine for the (Alternative) alternative histories project Desk image modelling and drawing the (Alternative) histories project

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Scale for the annexe

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Drawing/Reference Construction drawing and photo montage for the (Alternative) alternative histories project Photograph, Market Santa Caterina, EMBT, 2005

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Scale for the annexe

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Model

Model for (Alternative) alternative histories

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Scale for the annexe

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Model/Reference

Photographs of the model for (Alternative) alternative histories Photograph, Vigo University Campus, EMBT, 2004

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Scale for the annexe

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Drawing

Construction drawing for the model for (Alternative) alternative histories, drawn at 1/100 scale

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Scale for the annexe

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A day at the annexe

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Scale for the annexe

On returning As Álvaro Siza remarked, “An archive has the opportunity to take people back to the past and allow a discussion of the very different creative and political climates in which they were made.”

Translating this opportunity into a spatial experience, through a series of rooms, passages, and architectural conditions, offers a way to physically inhabit the significance of archival material.

By designing an architecture that not only preserves but facilitates engagement with historical work, the proposal aims to remove the common barriers surrounding archives (uncertainty around access, touch, and navigation). Second Occupancy seeks to address these challenges, proposing an environment where archival material is not simply observed but reactivated, prompting new conversations through use.

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Parti diagram of the initial proposal, positioning two archives on either side of a central workshop. One archive would house Drawing Matter’s collection; the other would store work produced in response through workshops. The original intention of the annexe was to create an archival environment that preserves both past and present production

Reference/Importance of the archive

Casa da Arcuitectura by Guilherme Machado Vaz, 2017 Louis Kahn, at the drawing board

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Scale for the annexe

Photograph of initial envelope model on studio desk

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Plan drawing showing early development of the annexe’s spatial organisation within Lincoln’s Inn Fields, exploring how the building might connect to existing external pathways while establishing its own internal circulation

Model/Translations

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Scale for the annexe Building on the investigations developed during the Alternative Histories project, the proposal for the annexe draws from the idea of a central spine, a structural core that organises pathways and movement. Through the study of Alberto Ponis’ Casa Scalesciani, with its deep engagement in vernacular architecture, a structural system was proposed that created a protective framework over circulation routes. Translating this approach into the annexe, initial proposals begin with the design of a central core, from which the architectural envelope unfolds.

Having already mapped the hidden pathways across the site of Lincoln’s Inn Fields, the annexe seeks to embed itself within one of these routes, using a tectonic structure to guide both existing park users and future occupants of the annexe through the site. The structure itself becomes an active organiser of movement, reinforcing the dialogue between built form, site, and inhabitation.

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Translations

Sketches exploring three structural conditions, each defining the use and character of the space it inhabits Photograph, structure, Archery Pavilion, EMBT, 1991

Initial proposal model testing a curved steel spine as a structural core to organise and connect potential buildings

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Scale for the annexe

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Photograph, initial proposal model

Translations

Photograph, Palafolls Public Library, EMBT, 2007 Sketch study of the steel structure, exploring its potential to support the roof as a primary system rather than define interior layouts

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Scale for the annexe

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Drawing

Sketch of the steel rods working together with the spine

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Scale for the annexe

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Translations/Drawing

Development of the spine structure using a regular steel beam and purlin system Photograph, Vigo University Campus, EMBT, 2004 Study of spatial sequencing around the spine, focusing on how public areas are arranged and experienced

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Scale for the annexe

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Drawing/Reference

Walsh House, Glenn Murcutt, 2005 External envelope, initial proposal, shape

Development drawings exploring the use of a steel rod as both structural element and spatial organiser, drawn at 1/100

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Scale for the annexe

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Translations

Photographs, development of plans and sections, through drawing on trace and model making Development drawings and plans exploring the proposal as two distinct structures, rather than a singular form, to facilitate public movement through the park

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Scale for the annexe Sketch, at 1/100 scale, spatial layout and programme

Discussion, Production, Presentation To support a cyclical engagement with archival material, the programme of the annexe is structured around a process of return, where archival content is not only studied but reinterpreted and represented. With the annexe now situated within Lincoln’s Inn Fields, the next phase of development focused on spatial programming and allocation. Central to the proposal is the inclusion of a dedicated archive within the annexe, ensuring material remains both present and accessible for ongoing workshops and exhibitions.

The programme has since evolved into a triadic structure, comprising three distinct yet interconnected buildings: a studio for the production of new work, an archive for discussion and study, and an exhibition hall for public presentation. These are connected via a central spine, an internal-external pathway, that links the buildings and ties them to the broader field. Each building has developed its own architectural character and function, supporting a continuous and open-ended dialogue with the archival material.

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Translations

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Scale for the annexe

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Drawing

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Scale for the annexe

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Covering

Model

Given the nature of the material handled within the annexe, archival, delicate, and often irreplaceable, protecting it from environmental exposure is essential. The movement of such material typically requires strict handling procedures, particularly when transitioning between interior and exterior conditions. With the annexe organised across three separate structures, this movement introduces a potential point of vulnerability. In response, the annexe proposes a rethinking of conventional archival circulation by enabling greater ease and freedom in how material is accessed, moved, and worked with. Rather than restricting movement to isolated, controlled rooms, the design embraces material interaction as a fundamental part of the programme. To address this, the architectural strategy proposes a continuous roof scape, an overhead structure that connects the buildings and shelters the circulation path beneath it. This connective canopy allows for protected movement between the archive, studio, and exhibition hall, ensuring that both people and material remain shielded from the elements.

Situated within a context where most surrounding architecture rises above 25 metres, the roof of the annexe becomes a visible elevation in itself. It must therefore be treated not simply as cover, but as a façade designed with the same level of intention and articulation as any vertical surface, responding to its urban context and contributing to the skyline of Lincoln’s Inn Fields.

Photographs, roof structure spanning the annexe, focusing on the archive and exhibition buildings

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Scale for the annexe

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Model/Translations

Initial sketch, pencil on trace, of roof panels Photograph of a sketch model exploring the roof design spanning the three buildings of the annexe.

The model tests the complex layering and angular shifts of the roof panels, elements that proved difficult to capture through hand drawing alone.

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Scale for the annexe

Photograph, roof model, scale 1/200 Physical model, collaged into the site context to test how the proposed roof scape integrates with the surrounding landscape and built environment of Lincoln’s Inn Fields

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Photograph, Palafolls Public Library, EMBT, 2007

Reference/Model

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Scale for the annexe

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Collage

Collage, the annexe in the field

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Drawing/Model

Photograph , model of annexe in the field

Getting lost in the archives With the annexe conceived as a space for discovery, mirroring the layered and often meandering experience of archival research, the architecture aims to spatially exaggerate this sense of getting lost. The roof structure serves both a practical and poetic function: it shelters fragile archival material and defines the external envelope, while its irregular form creates a varied and dynamic spatial atmosphere. Shifting in height and width, punctuated by skylights, the roof responds to programmatic needs, rising to introduce light where materials are on display, and lowering to frame more focused, intimate zones of study. It becomes both cover and compass, guiding the user through an evolving architectural landscape.

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Scale for the annexe

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A day at the annexe

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With the roof scape defined by irregular forms and shifting angles, the elevations of the buildings are directly influenced, resulting in an animated and dynamic architectural presence when viewed from the exterior.

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Scale for the annexe

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Unfolded elevation with sections for the exhibition hall of the annexe

Drawing

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Scale for the annexe

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Scale for the annexe Notes on the tectonics The tectonic approach to the structure of the annexe emphasises the contrast between interior and exterior, reflecting its dual role as both a contemplative archive and a publicly situated building.

Structurally, the envelope comprises an exposed steel frame with external load-bearing concrete walls, supporting the roof. Internally, the exposed in-situ poured concrete establishes a cool, stable, and climatically controlled environment, essential for the protection and study of sensitive archival material.

The robust materiality of the interior also evokes a sense of permanence and quiet focus, reinforcing the building’s role as a place of research, production, and reflection.

Externally, however, the tectonic language shifts. Positioned within the verdant setting of Lincoln’s Inn Fields, yet surrounded by the dense fabric of central London, the annexe adopts a softer expression.

Weathered Siberian larch cladding is fixed to a secondary frame that wraps the concrete core, introducing a more natural and tactile surface to the elevations. This deliberate contrast, cool, heavy interior versus warm, timber-clad exterior, generates a clear threshold between public and private, surface and depth. The unconventional construction strategy reinforces the architectural ambition, to provide an interior world for engagement with archival material, while maintaining a sensitive and responsive outward presence for those who encounter the building from the park.

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Detail 4 Steel Rod, fastened to extended Steel Beam from Roof

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Steel Rod holding extendable wooden table, for displaying archival materail

Two steel I section columns provide vertical loadbearing support to the roof level primary steel I beam, forming part of the main structural framework

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Sloping Side of Excavation.

Drainage Board.

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Waterproofing.

Perforated/Porous Pipe Bedded in Lean Concrete Fall approc 0.5 dgrees.

Undisturbed Soil

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Hardcore Layer Under Concrete Raft Foundation 430mm

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Standing Seam Zinc Sheets Plywood 18mm Waterproofing Ventilation Cavity between timber battens 50x60mm Steel I Beam with Mineral Wool Insulation 400mm Service Cavity 50mm Ceiling Finish, plasterboard 10mm Steel Flange, holding exterior gutter at a 2 degree slope

Detail 5 Void.

Damp Proof Membrane.

Thermal Insulation 2 Layers Between Battens.

Concrete wall pooured in situ 250 mm.

Damp Proof Course.

Cladding Sill Flashing.

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Insulation 50mm eperation Layer olythene sheet bout 500-gauge Anhydrite Levelling Screed,compared to sand cement screed, offers a carbon footprint saving of 20.45kg CO2/m2, consisting of 36

Shadow gap between screed floor and concrete wall to allow for material movement Perimeter Insulation

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Drawing/Model

Photograph, the final model of the annexe Exploded axonometric explaining the assembly of elements that make the annexe

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Scale for the furniture

Composite drawing of the furniture elements and steel rod system within the studio building, illustrating their spatial coordination and interaction across multiple scales.

Photograph, model of the annexe

Scale for the furniture The furniture within the annexe becomes an architectural device, more than functional objects, these pieces define and choreograph the activities specific to each building. Constructed through a language of timber joinery, the furniture engages directly with the annexe’s central spine: a series of curved steel rods that, while no longer structural in a conventional sense, act as performative tectonics. These rods simulate a structural logic, emerging from the ground, skimming the underside of the roof, or protruding from excavated thresholds—without necessarily bearing load. They suggest a structural narrative, a fiction of support, while enabling a poetic spatial organisation.

In response, the timber joinery positions itself in proximity to these rods, clamped, suspended, or nestled against them, to form benches, display surfaces, and reading platforms. These are not passive insertions but rather active agents in shaping how archival material is encountered. The furniture constructs zones of intimacy or openness, of stillness or activity, allowing archival content to be read, viewed, or reinterpreted. As such, the tectonic of the annexe shifts from being a backdrop for storage to an architecture of engagement. The furniture acts as a medium between student and archive, facilitating reflection, enabling reinterpretation, and aligning with the ethos of the annexe, to activate the archive as a space for learning, making, and re imagining.

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Drawing

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Second Occupancy March 21st 2026 Open studio for the public and students

Series of events

Following the workshop, the pieces created in response to the archival material are carefully installed throughout the exhibition hall.

Drawings are pinned to display boards and framed within vertical screens.

Models are placed on tables, shelves.

Plan chests are opened to reveal layered works, inviting visitors to physically engage with the process of making. The arrangement mirrors the dual nature of the project, anchored in study but open to reinterpretation, allowing visitors to read between the archival material and the new work.

The open studio welcomes visitors, students, academics, and members of the public.

Access to the exhibition is continuous, viewers can move between tables, drawers, and shelves, mirroring the students’ own movement between archive and studio during the workshop.

Informal pathways are created through the layout of the furniture, encouraging lingering, close reading, and conversations around the displayed pieces.

Selected students present their work alongside the archival piece that informed it.

Visiting lecturers and tutors offer reflections on methods of translation, interpretation, and the role of archives in contemporary practice.

Open floor discussions encourage dialogue between students, academics, and the public.

The atmosphere of the open studio privileges process over final product, making visible The act of study, response, and making as architectural practices in themselves.

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A day at the annexe

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Scale for the furniture

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Model/Reference

Photograph The studio in the annexe The original ‘Inestable’ in iroko wood, photographed at Miralles’ and Tagliabue’s home in Barcelona Photograph The studio in the annexe

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Scale for the furniture

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Composite drawing of the furniture pieces located within and around the archival building, illustrated at varying scales, from 1:100 to 1:25, to explore their spatial, material, and tectonic relationships in context

Drawing

Within the archival building, steel rods follow spine-like pathways, supporting timber tables that display large archival works while overlooking the excavated archive below. This layered arrangement connects exhibition and storage, reflecting the archive’s accessibility and the care required to maintain it. The rods extend beyond the building into the park, carrying the architectural language outward. Timber benches beneath them offer moments of pause, allowing the public to engage with the annexe from its periphery.

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Scale for the furniture

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Sketch of the furniture

Drawing/Model

Photograph of a 1:25 scale model of the annexe furniture

Designing a piece for the annexe, this furniture element was conceived to house the material produced in the annexe’s workshops. Its form draws from the typology of a plan chest, but is re-imagined with adaptable, animated components that can accommodate a range of formats, drawings, models, and books of varying sizes. This flexibility reflects the annexe’s ethos: that the work created in dialogue with archival material holds equal value to the archive itself. By providing a dedicated and responsive storage system for both original and newly generated work, the furniture reinforces the annexe’s role as a living archive, one that records not only what has been, but what is continually being made in response.

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Scale for the furniture

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Model/Drawing

Construction drawing of the furniture piece with dimensions Photograph, furniture holding the series of models, drawing, pieces made for the (Alternative) alternative histories project by Alberto Ponis, Flores & Prats, and the author

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Scale for the furniture

Photograph, model of furniture piece for the annexe Photograph, model of the annexe on its stand Initial sketch of the intentions for the final model

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Model

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Scale for the furniture

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Reference/Model

Photograph, metal and timber stand for final model of the annexe Photograph, Curro calret metal fasteners for unexpected furniture pieces

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Scale for the furniture

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Model

Photographs, making of the model

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Scale for the furniture

Photograph, the final model for the annexe on its stand

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Composite drawing, navigating the variation of furniture types in the studio that facilitate making and storing work, drawn at a variation of scales, 1/100 and 1/25

Model/Drawing

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Model

Photograph, drawings on the table Photograph, the external walkway in the annexe Photograph, Three models on stand in the studio

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Photograph, exterior of the annexe Photograph, inside the archive

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A day at the annexe

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Second Occupancy Final Note ‘Second Occupancy’ by Bella Fane, for the course AD:Tectonics, 2024, Archives and Annexes, working (with) drawings. ESALA, Edinburgh College of Art, Jan-May 2024 Studio tutors; Maria Mitsoula and Callum Symmons Course Organiser; Rachael Hallet Scott Projects, Texts, Publication that have influenced this body of work: Texts Robin Evans, Translations from Drawing to Building Thought by Hand, Flores Prats Architects El Croquis, Enric Miralles The Inhabited Pathway, The architecture of Alberto Ponis Alternative Histories, Drawing Matter Seven Sketchbooks, Níall McLaughlin Projects Assembly house EMBT Campus da Universiadade Parafolls Library Flores & Prats Architects Pius XII Square Campus Microsoft Milan Sommerset House, competition entry Patkao Architects Strawberry Vale Elementary School Glenn Murcutt, Walsh House Guilherme Machado Vaz, Casa da Arcuitectura

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References

Book that have remained on my desk in the studio throughout the development of this architectural project

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thank you for reading